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Posts Tagged ‘Compound Eye: Works by RongRong & inri (2000-2010)’

“Compound Eye: Works by RongRong & inri (2000-2010)” (website in Chinese) is the first retrospective exhibition of collaborative works by RongRong and inri since they started working as a husband-and-wife team in 2000. In 1999, the Chinese photographer RongRong met inri, a Japanese artist, at his solo exhibition in Tokyo. They did not understand each other’s languages at that time, but they “understood each other deeply from their works.” Built on the foundation of their individual styles, their collaborative works surpass the limits of their individual vision.

The lens naturally became a “compound eye” for the pair, enabling them to document themselves and their encounters with nature and their living landscape in depth and from perspectives only made possible by this “eye”. Feng Boyi, the exhibition’s curator, defines the unique quality of their works as such:

“Their collaborative method gives their works a romantic exterior, but the circumstances of their work and the narrative context overturn this romanticism, thus deconstructing their individual memories, dreams, and imaginations. This uniquely beautiful romantic language reflects their combined vision and a different side of nature and reality.”

The exhibition is divided into 13 series, each centering on a location and time, as well as the particular emotion associated with it. “In Fujisan, Japan” series (2001) was created after the pair made the decision to be together. This series concentrated on the spontaneous passion of discovering nature and each other, their realisation of their chance to live and create fully. “Caochangdi, Beijing” series (2004-2009) documents the births of three sons into their family. “Three Shadows, Beijing” series(2008),documenting the founding and operation of the Three Shadows Photography Art Centre, can be read like a family genealogy. The freeze frames, shaped in circles, add a timeless flavour to the family portraits. The use of this circle shape can also be found in “Untitled 2008” series, suggesting the continuity of life in the universe and their creative process.

When asked about the challenges and decisions involved in putting together this exhibition, curator Feng Boyi replied:

Uncertainty is an important element of experimental contemporary art, because artists themselves are in the phase of exploring new ideas and methods. For a general audience not familiar with the art critical discourse, contemporary art seems distant. Everyone has grown up with a relatively fixed aesthetic preference, while the general art education in China is not very helpful in fostering individual taste. Hence, I am very careful in my curatorial process to take this dynamic into consideration. RongRong and inri’s works are less abstract, so the barrier to understanding should be lower. I also try to engage the audience by providing interactive opportunities – pinhole camera workshops are run every weekend.

He Xiangning Art Museum (website in Chinese) is located in Shenzhen, a small fishing town which was designated as a “special economic zone” in the 80s. From these humble roots, it has grown into the cosmopolitan city in Guangdong province you can visit today. Shenzhen has always been well known as a trading centre for business and industrial production, and is the hub of the Pearl River Delta economic region. Lacking an innate infrastructure for art, Shenzhen has seen its government working with private partners to initiate and build quite a few arts clusters.

As a young migrant city without broad art heritage, Shenzhen has gone through a very fast urbanization process in the past thirty years. It is open and welcoming to new ideas and attempts. We have worked with a roster of curators, both Chinese and international. Shenzhen has a leading position in the design discipline in China. We also focus on Shenzhen’s critical location as a regional hub connecting Guangdong Province, Hong Kong, and Macau. The recent exhibition “The Butterfly Effect – An Artistic Communication Project of Cross-Strait Four Regions” (website in Chinese) pays tribute to this very idea. (Feng Boyi, curator)

The museum was founded in 1997 and is the first Chinese national museum named after an individual. Since its inception, He Xiangning Art Museum has put on programmes with high aspiration and an international view: the Shenzhen Contemporary Sculpture Exhibition, first held in 1998; Wang Guangyi(website in Chinese) and Yue Minjun‘s (website in Chinese) solo exhibitions; Xu Bing’s Primer for the Mu, Lin, Sen (木, 林, 森) Project in 2009; a number of shows collaborating with Italian and French artists and curators.

He Xiangning Art Museum has always championed slightly marginalized artists in China. They still keep on creating original works without receiving overwhelming media attention. In the past few years, the characteristic of Chinese contemporary artists has shifted from being critical, avant-garde to being less so, especially after the intervention of capital in the art creation process. To some degree, the desire for fame and status has replaced their critical spirit. RongRong and inri remain experimental. They are exactly the type of artist that He Xiangning Art Museum is interested in. (Feng Boyi, curator)

When asked how He Xiangning Art Museum views the current status of art museums in China, museum director Yue Zhengwei said:

“Competition amongst museums should not be our primary concern. Founding an art museum is not the most difficult thing, but maintaining a well-run programme requires a lot of efforts. Each museum in the same city or region should develop its own unique positioning to differentiate from the rest, to avoid the wasting of resources. This is crucial to maintaining a healthy art museum eco-system.”

“Compound Eye: Works by RongRong & inri (2000-2010)” is on at He Xiangning Art Museum until 11 July, 2010. It has been organised by He Xiangning Art Museum, with assistance from the Three Shadows Photography Art Centre.